Fir Trees in the Snow, c.1828 by Caspar David Friedrich
Canvas Print - 11566-FCD
Location: Alte Pinakothek, Munich, GermanyOriginal Size: 31.3 x 25.4 cm
Giclée Canvas Print | $52.06 USD
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*Max printing size: 23.6 x 19.2 in
*Max framing size: Long side up to 28"
"Fir Trees in the Snow" will be custom-printed for your order using the latest giclée printing technology. This technique ensures that the Canvas Print captures an exceptional level of detail, showcasing vibrant and vivid colors with remarkable clarity.
Our use of the finest quality, fine-textured canvas lends art reproductions a painting-like appearance. Combined with a satin-gloss coating, it delivers exceptional print outcomes, showcasing vivid colors, intricate details, deep blacks, and impeccable contrasts. The canvas structure is also highly compatible with canvas stretching frames, further enhancing its versatility.
To ensure proper stretching of the artwork on the stretcher-bar, we add additional blank borders around the printed area on all sides.
Our printing process utilizes cutting-edge technology and employs the Giclée printmaking method, ensuring exceptional quality. The colors undergo independent verification, guaranteeing a lifespan of over 100 years.
Please note that there are postal restrictions limiting the size of framed prints to a maximum of 28 inches along the longest side of the painting. If you desire a larger art print, we recommend utilizing the services of your local framing studio.
*It is important to mention that the framing option is unavailable for certain paintings, such as those with oval or round shapes.
If you select a frameless art print of "Fir Trees in the Snow" by Caspar David Friedrich, it will be prepared for shipment within 48 hours. However, if you prefer a framed artwork, the printing and framing process will typically require approximately 7-8 days before it is ready to be shipped.
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All unframed art prints are delivered rolled up in secure postal tubes, ensuring their protection during transportation. Framed art prints, on the other hand, are shipped in cardboard packaging with additional corner protectors for added safety.
Painting Information
The understated palette in Fir Trees in the Snow is central to its contemplative mood. The sky’s gentle shift from a foggy violet into a subdued blue captures the faint light of a winter day, while the dark green of the conifer needles underscores nature’s enduring resilience. Thin layers of white frost on each branch evoke a quiet tension, their crisp edges forming a visual counterpoint to the soft tonal gradation above. In reducing the painting to such measured shades, the artist allows subtle color relationships to draw the viewer into an almost meditative state.
Equally telling is the meticulous technique that underpins this seemingly simple scene. Each fir branch reveals a level of careful observation and precise brushwork, hinting at preparatory drawings before any paint was applied. Despite its modest scale, the composition radiates a clarity reminiscent of a photographic document, reflecting the artist’s abiding fascination with close study of the natural world. The balance of restraint and exacting detail forms a tangible sense of place that seems to extend beyond the narrow confines of the frame.
Compositionally, the three tallest spruces command the central focus, with smaller firs fanning out across the foreground. In emphasizing vertical lines within a compressed space, the painter directs the gaze upward, accentuating the trees’ slender peaks against the soft expanse of sky. This hierarchy of forms is further underscored by the use of repetition, which helps highlight the significance of the trio. Viewed in a Christian context, the number three carries symbolic overtones, deepening the painting’s reflective qualities. The quiet winter setting and evergreen foliage merge to suggest a moment suspended between life’s cyclical progression and the promise of renewal.
Behind the precise rendition of branches and the neat interplay of shapes, there is a distinct sense of deliberate arrangement. The low vantage point invites one to confront these spruces at eye level, as if encountering them during a winter stroll. And while the depiction is exacting in its natural detail, it also carries an almost spiritual resonance. In the final phase of his career, the artist turned toward such nuanced, small-format scenes, producing works that remain intimately grounded in direct observation, yet open to deeper themes of faith, transience, and the quiet persistence of the natural world.
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